Cat on a Hot Tin Roof, directed by Benedict Andrew, starring Sienna Miller, Jack O'Connell and Colm Meaney
Pete Malkin and I won Australia's Helpmann Award for best sound design for The Encounter. This has been an amazing year for us for our work on The Encounter, winning an Evening Standard Award, a Drama Desk Award, a Tony Award and now a Helpmann.
Collaborating with curators Claire Catterall, Lizzie Ostrom and podcast producer Jo Barratt, I worked on creating a soundtrack for each of the ten perfumes that feature in this exhibition.
Pete and I are super proud to have been awarded a special Tony Award for the sound design of The Encounter. This is particularly special because the Tony Awards axed the annual sound design awards back in 2014, saying they would only award one for sound in exceptional circumstances. Alongside our award the Tony Awards announced that they would be resuming awarding regular awards for sound design from next year, which is super news.
I'm super proud to be involved with this production, which opens today at the National Theatre. It doesn't use (or need) lots of sound, but it's an awesome play by Inua Ellams, performed by a brilliant ensemble and directed superbly by Bijan Sheibani.
UPDATE: Barbershop will be returning to the National Theatre this Christmas, before embarking on a world tour.
Pete Malkin and I were very fortunate to receive another award for the sound design of The Encounter. Pete was otherwise engaged on this occasion.
Tonight we opened Woyzeck, in a new adaptation by Jack Thorne, at the Old Vic Theatre. It stars John Boyega (Star Wars), with music by Isobel Waller-Bridger and is directed by Joe Murphy.
"Murphy's production follows Woyzeck's descent into drug-addled madness, unravelling from normality into chaos, with a claustrophobic set of sliding padded panels by Tom Scutt, an explosive sound-scape by Gareth Fry and a resonant score from Isobel Waller-Bridge." The Stage
"The staging is quite beautiful, a series of insulated walls – one even has meat seeping out – float in from above and glide in and out of the wings, while patches of light illuminate areas of the stage in regimented order. At times the cast seem to appear out of nowhere and this is even before we admire Ben Hart’s subtle illusion. The walls move in waves with a pulsating rhythm, matching Gareth Fry’s impressively oppressive sound design" Theatre Weekly
I’ve been working with Ollie Lindsey/All Seeing Eye again, this time at the NT Immersive Storytelling Studio, to create the sound design for Draw Me Close: a scene from a new play by Jordan Tannahill, looking at the relationship between a mother and her son in the wake of her terminal-cancer diagnosis. This is a super interesting VR and live theatre project, involving a mix of cutting edge HTC Vive tracker technologies, some really cool animation and actress Tamsin Griffin.